Catarina Ruivo

Antecâmara

Jorge Cramez

Luís Miguel Cintra, Catarina Ruivo

Using video assist recorded images, Antecâmara is about the “act” of shooting, the physical reality and ritual energy of two film crews during the preparation for a shot. The first video assist rule is that the image one sees in it has to be more interesting than what one sees outside. Nothing is left to chance. It helps to preview the shot, organise space, arrange the scenes, move the actors and light the set. And it provides it all with a meaning depending on how the camera is used. It is the space-time before the shot, where it is sketched.

Uma Cerveja no Inverno

Catarina Ruivo

Pedro Hestnes, Tiago Pereira

André Valente

Catarina Ruivo

Leonardo Viveiros, Rita Durão

An authentic and convincing story of a small boy, son of a disrupted young couple, with all the typical hostile reactions about his mother's new love relationship and a behavior showing a mixture of love and resentment towards her, ending in a curious and somewhat moving friendship between the child and a Russian migrant worker who in a certain way replaces his estranged father.

Daqui P'rá Frente

Catarina Ruivo

Edgar Morais, Luís Miguel Cintra

Dora divides her time between her work as a beautician, her policeman husband António, and her involvement in left-wing politics. A tale of love and how we must learn to cherish it against all odds in the pursuit of happiness.

Em Segunda Mão

Catarina Ruivo

Pedro Hestnes, Rita Durão

Jorge is a loner and a writer of popular books. At night, he looks through other people's windows and thinks that they are truly happy.

A Minha Avó Trelotótó

Catarina Ruivo

«My grandma had a great strength and love for life which made me believe that some of us were able to become immortals and escape death. When she passed at the age of 92, her death was a surprise to me, which I was not prepared for. The cinema has the immense power of creating the illusion of life and its protection. This film is my attempt to rescue my grandma from death. It is not a documentary about my grandma but a film with my grandma. I wanted to film a ghost and then return it to the realm of the living, like Orfeu tried with Eurídice. It is a route to resurrection. It is my way of giving her immortality which I deem to be her right.»

Boa Noite

Catarina Ruivo

Actos de Cinema

Jorge Cramez

Ana Moreira, Beatriz Batarda

Cinema and affections from life in images and what goes on outside the frame. 'Snapshots' of shootings and the present-day memory of directors, actors and technicians.